INTERVIEW: Everyman's Anderson and Prue: Married with Children and Careers

I recently had the privilege of interviewing two of the Baltimore-Washington area's most acclaimed actors, Megan Anderson and Kyle Prue.  They were gracious enough to brave an hour of questions between performances (Mr. Prue is currently appearing in Everyman's A Number by Caryl Churchill), and to share their enthusiasm and passion for the local theatre scene.  Also in attendance was the couple's young daughter, Zoë, who seemed as fascinated by the mirrored set of the play as I am!  Here are a dozen questions for the couple:

 

1. James Howard (JH): Everyman Theatre has a core company of actors, of which both of you are a part.  How does this fit the mission of Everyman?  How does this company approach fit your careers?

Kyle Prue (KP):  Well, first of all, the company's mission statement clearly calls for one, a resident company of local actors, and two, accessibility for everyone, which doesn't just mean affordability (which it is), but access for local artists to participate in a season.  And I have known both the "company of actors" approach and the "go in and audition each time" approach.  The company of actors is great because you really know each other.  You have a history, and you know each other's actor tricks.  Basically, we cut through three weeks of cutting through all that stuff when you don't know each other.  Plus, I've had the opportunity to play roles here that other places wouldn't consider me for.

Megan Anderson (MA): Yes, there is a definite comfort level.  And we are challenged to take on different kinds of roles – in one show you might be the lead, and in the next you might be walking on carrying a tray and going off.  Here, we know each other's strengths and weaknesses, and most theatres don't allow you to stretch like that.  I think the audience sees that respectable people want to work here, when they see us in different plays in different seasons, but in the same place.  People and art come first here – it is always completely collaborative.  Because it is safe and we are free to take risks, people stay and want to come back again and again.  On a practical level, there is a security in knowing I'll get at least one job a season.  And not only because of steady pay, but in order to get insurance, [Equity rules say] you must work a minimum of 20 weeks.  Here, you can do that in two plays; in other places it takes three or more.

2. JH: Who have you worked with that has effected your acting/career/life the most?  Why? 

KP: I'd have to say Richard Thomas who has directed me before.  He gave me great advice from an honest perspective, having played a character (John Boy Walton) that was much younger than he really was.  He told me to accept my younger looks, and to think of the benefits and depth that a mid to late 20's actor can bring to an 18 year-old character.  Also, Vinny Lancisi, who has allowed me to be a member of this company, and given me roles I'd otherwise never get to try.

MA: Actor Emory Battis.  He changed the way I look at my career.  Here he was, 85 years old, with decades of experience.  He taught me to retain all the good stuff and get rid of all the silly stuff.  Also, (fellow company member) Vivienne Shub - she has done everything – decades of success.  I hope to be that fortunate.

3. JH: When did you get your Equity card?  What was your reaction to it?

MA: You need 50 weeks to get your card, unless a producer has a slot and can offer you a card, which is what happened to me.  In 2000, CenterStage offered me a card, while I was still in the apprentice program.  I said, "Yes."  It was actually a difficult decision, because a lot of places don't hire Equity actors, and you have to work a certain amount of time to maintain benefits.  Plus not everywhere pays the same, so you have to consider that, too.  Do I take a role or do I pay the rent?

KP: I got mine in either 1991 or 1992 while I was in a play called Halcyon Days at TFA.  I was lucky because I felt I had a substantial enough resume backing up the Equity card.  With younger actors it is a catch-22.  Sometimes a college kid will get the card, but with only two or three similar roles under his belt.  A lot of producers won't hire someone with that little experience.

4. JH:  Kyle, you represent half of a cast in your current production, A Number, and Megan, 2 seasons ago, you pretty much carried half the play as Catherine in Proof.  What is it like to have that much responsibility to a production?  Does it color your preparation?  How is it different than performing in a more ensemble oriented piece, like The Cripple of Inishmaan?

KP:  Well, you always prepare fully for any size role as far as lines, research and the like, but physically, it is certainly different.  With a larger role, the mental, physical and psychological exhaustion is much more.  But with a smaller role, where there is less to work with, it is also tiring, just in a different way.  Night to night the exhaustion is different, but there is exhaustion either way.

MA: I think smaller parts are harder to maintain.  In Inishmaan, I'd sit right off stage between my scenes to "stay in it."  Then I'd come in, having to maintain an energy level I hadn't used in 15 or 20 minutes.  But being the lead is a huge responsibility.   When we did Proof the second time (at Totem Pole Playhouse), and we knew the story we were telling was good and what we were doing was a proven thing, I realized that being the lead doesn't mean you have all the responsibility.  I knew we were all in on it together.

5. What is the best advice you've gotten as an actor or in life that might relate to acting? 

MA: "Don't do it if you don't LOVE it."

KP: "Just tell the story.  Don't get all caught up in your own stuff, whatever it is."

6. JH: And the worst advice?

KP & MA: (nearly simultaneously) "You have to live in New York/>/> or LA to be an actor."

7. JH: What does this area offer in terms of theatre opportunity that makes it a place you live in and continue to work in?

KP:  Well, this area – local actors consider the entire Baltimore-Washington corridor as one "city".  And outside of New York/>/> or LA it has the largest opportunity for professional actors to find work.  And there is a certain great satisfaction of knowing that you can have an impact even in a 175 seat theater (like Everyman).  It is hard to imagine making a living as an artist with a family and a house.  It allows "traditional" stability.

MA: I agree.  It is an affordable place, a nice place to start a family, and it is my hometown.

8. JH: Do you have aspirations outside the Baltimore/Washington area?  Have you had much experience in say, New York/> and/or California/>/>?

MA: Yes, but mainly because I want to try these different communities.  And I aspire to get to the point where I can pick and choose projects.  I've tried the Broadway thing, the New York/>/> auditions, and I wouldn't turn down the opportunity, but I an happy here.

KP: I actually lived in LA in the late 80's.  But I have found that some of the best work done in the country is done right here in Baltimore/DC.  So I am happy here, but wouldn't necessarily turn down work there, but now, with a home and a family to consider…

MA: We have talked about it, but it really depends on the situation at the time.

9. JH: How is acting on stage similar/different than on screen?  Which do you prefer?

KP: I prefer stage acting.  I mean, the stage is truly an actor's medium, where film is a director's medium.  On stage you get to go through the entire arc of a story and character, where on film, it is all about doing it exactly the same way several times in a row, in tiny, out of order bits.  And the best performance you give may not be the one that is used.  So much is not under your control with film or TV, but on stage you can grow as you relive the play every night.

MA:  I feel lucky to be able to do both.  With both, I have so much to learn, and I like being challenged that way.  TV is challenging in maintaining your focus – there is just so much going on all around you. (Ms. Anderson currently appears in HBO's The Wire.)

10. JH: Do either of you have directing experience?  What type of director do you like working with the best?

MA & KP: (nearly simultaneously again) No, except a little in college. 

MA: I like directors who work like we do here – in a collaborative way from start to finish.

KP:  I've thought about it.  More lately, but only if I had the right play that I really get – that I can bring something interesting to.  Other than that, no.  I like to work with directors who have acted.  They can be there with more understanding when I need help with motivation or emotional understanding of my character because they've been there before.  I need more than just, "stand there, walk there."

11. JH: How do you balance a personal life with acting in local productions and your other pursuits?  Does being a married acting couple inhibit, help or not effect your career and personal life?

KP:  Well, there is time for a little of everything.  Sometimes I'm working and Megan isn't, or vice versa.  Other times we are both working, but it isn't too bad most of the time.  At the most, I may commute 100 miles each way a few times a week, but it still allows me to be home.

MA: Yes, everything he just said allows us to not only have a career and each other, but a family, too.  Zoe keeps us both busy, but it is so far not too hard to juggle in this area.  It allows us to have both a career and family.

12. JH: What does the future hold for you?  For Baltimore/>/> audiences wanting to see more of you?

MA:  I will be at Wooly Mammoth in "actual" DC.  (Laughs) Not a suburb, like Bethesda/>/>!  It is a play called The Faculty Room, and I play Zoe.  I think it was karma – the first role I auditioned for after having my daughter, and their names are both Zoe!

KP:  Hmm, well, I don't have a show lined up right now that I can name, but I can tell you that I hope to be involved in at least one show here at Everyman next season.  In the meantime, I'll continue narrating books.

MA: (Laughing) Yeah, about fly fishing!

KP:  Yes, I've never done it in my whole life, but now that I know how I'll have to try it!  I hope I sound like an expert.  They keep hiring me, so I must!

 

Thanks, Megan and Kyle for a fun, interesting interview.  A Number, starring Kyle Prue continues at Everyman Theatre in Baltimore/>, Maryland/>/>.

 

See these related articles on BroadwayWorld.com – Baltimore/>/>: Everyman 2006 -2007 Season Announced (04/05/2006), REVIEW: A Number (03/20/2006), What Makes You You? (03/01/2006), REVIEW: The Cripple of Inishmaan (02/03/2006).

 

PHOTOS: Megan Anderson (left) in The Cripple of Inishmaan & Kyle Prue (left) in A Number.  Photos courtesy of Everyman Theatre.

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